Click on the Homework Due Date Below:
Sept 24
Oct 1 Oct
8 Oct 15 Oct 22 Oct 29 Nov 5 Nov 12
Last Day to Hand in Homework in Class = Wed Dec 10
Last Day to Email Homework to Prof. Tramo = Mon Jan 12
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Reading
1. Tramo
MJ. Music of the hemispheres. Science
2001;
2. Tramo MJ.
Brain and Music. In Randel DM (Ed), Harvard Dictionary of Music, 4th Ed., 2003, Harvard
U Press, Cambridge.
3. Rossing et al, Science of Sound 3rd
Ed, 2002, Chapter 3,
"Waves"
Problem Set
1. Rossing
Chapter 3, Review Questions #1, 3, 6, 7, 8
Self-Teaching Exercise: Surface Anatomy of the Cerebral Cortex
1. Search Google Images for pictures of
the brain that identify surface structures -
i.e.,
gyri, sulci, lobes; share URLs with class
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Reading
1. Rossing et al, Science of Sound, 3rd
Ed, 2002, Chapter 7,
"Pitch and Timbre"
Problem Set
1. Rossing
Chapter 7, Review Questions #2, 6, 8, 9, 10, 11, 12, 15; Exercise #2
Self-Teaching Exercise: Digital Sound Recording & Speech
Analysis
1. Using
freeware available on the web (e.g., Amadeus, Audacity, Praat), record yourself
saying a vowel, syllable, word, or short sentence. Look at the acoustic waveform. Analyze all or part of what
you said using the built-in tool that turns the waveform into a spectrogram. Make sure you understand what the axes
are on the waveform and spectrogram.
Now say what you said in a higher-pitched voice. Try a lower-pitched
voice. Try a softer voice, then a louder voice. How about a whisper?
How do all these waveforms differ?
How do the corresponding spectrograms differ? What are the similarities? Be prepared to discuss all of the above in class. (No need to write down any answers.)
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For Study Section A, due by the last day of Reading Period
Reading
1. Seminar:
Frequency Processing &
Pitch Perception
¥ Psychophysics & Functional
Neuroanatomy
i.
Evarts EV. Effect of auditory
cortex ablation on frequency discrimination in monkey. J Neurophysiology 1952; 15:443-448
- Presented by Rebekah Meyer
ii.
Zatorre RJ. Pitch perception of
complex tones and human temporal lobe function.
J Acoustical Society of America 1988; 84:566-572
- Presented by Catherine
Glennon
iii.
Tramo MJ, Shah GD, Braida LD.
Functional role of auditory cortex in frequency processing
and pitch perception. J Neurophysiology 2002; 87:122-139
¥ Microanatomy & Neural Coding
iv. Morel A, Garraghty
PE, Kaas JH. Tonotopic organization, architectonic fields, and
connections of auditory cortex in macaque monkeys.
v.
Phillips DP, Semple MN, Calford MB, Kitzes LM. Level-dependent representation
of stimulus frequency in cat primary auditory cortex. Experimental Brain Research 1994 102:210-226.
2. Rossing et
al, Science of Sound 3rd Ed, 2002, Chapter 4, "Resonance"
Problem Set
1. Rossing et
al, Chapter 4, Review Questions #1, 2, 4, 6, 8; Exercise #1
Except Study Section A members presenting papers
Reading
1. Seminar:
Frequency Processing &
Pitch Perception (cont'd)
¥
Psychophysics
& Functional Neuroanatomy (cont'd)
i. Tramo MJ, Shah GD, Braida LD. Functional role of auditory cortex in
frequency processing
and pitch perception. J Neurophysiology 2002; 87:122-139
-
Presented by Michael Lin
¥ Microanatomy & Neural Coding - Presented by Ashley Fry &
Kate Xie
ii. Morel A, Garraghty
PE, Kaas JH. Tonotopic organization, architectonic fields, and
connections of auditory cortex in macaque monkeys. J
Comparative Neurology 1993; 335: 437–459.
iii. Phillips DP, Semple MN, Calford MB, Kitzes
LM. Level-dependent representation
of stimulus frequency in cat primary auditory cortex. Experimental Brain Research 1994 102:210-226.
iv.
Bendor D, Wang X The neuronal
representation of pitch in primate auditory
cortex. Nature
2005; 436:1161-1165.
Note: The entire class will present
the Methods and Results of the Bendor & Wang paper,
Problem Set
1. There are
two types of "Tuning Curves" - one is called an Isorate Function, the
other an Isointensity Function.
a.
What is on the X axis of an Isointensity Function?
c.
What are the units of X?
d.
What is on its Y axis?
e.
What are the units of Y?
f. What type(s) of tone is used?
g.
What acoustic feature(s) of the tones are you going to vary when you test for
neuronal frequency-selectivity using an Isointensity Function?
h. What acoustic feature(s) of the tone(s)
are you going to keep constant when you test for neuronal frequency-selectivity
using an Isointensity Function?
i.
Draw what you would expect to see for a neuron finely-tuned to a pure-tone with
frequency = A5, loudness = pianissimo, and duration = 1/16th note, 4/4 meter,
tempo 120 beats/min. When you
label Xmin and Xmax along the X axis, assume we are
recording from a human (you can see Chap 5 in Rossing if you're not sure of the
values, though I've mentioned this several times in class). Label and define BF and FRA
(abbreviation for the "frequency response area"; do this for all your
functions.) Make sure the width of FRA compared to the distance from Xmin
to Xmax is more or less realistic.
j.
Using a different color, draw what you would expect for the same neuron for the
same pure tone with the same acoustic features except loudness = fortissimo.
k. Using a third color, draw what you would expect for a different
neuron that belongs to the "diffuse" a.k.a. "lemniscal adjunct"
ascending auditory pathway for a
pure-tone with frequency = A5, loudness = pianissimo, and duration = 1/16th
note, 4/4 meter, tempo 120 beats/min.
l. Now for the latter neuron, but
frequency = A5, loudness = fortissimo, and duration = 1/16th note, 4/4 meter,
tempo 120 beats/min.
2. For an
Isorate Function:
a.
What is on the X axis?
b.
What are the units of X?
c.
What is on the Y axis?
d.
What are the units of Y?
e.
What is plotted?
3. Looking at a more raw form of neural
data:
a.
What is a Spike Raster (a.k.a. Dot Raster)?
b.
What is on the X axis?
c.
What are typical units of X?
d.
What is on the Y axis?
e.
What are the units of Y?
f.
What is plotted?
g.
Why is this more raw than an Isointensity or Isorate Function?
Except Study Section B
Reading
1. Seminar:
Harmony Perception in the
Vertical Dimension
¥
Psychophysics
i. Plomp R, Levelt WJM Tonal consonance and critical
bandwidth. J Acoustical Society of
America 1965; 38: pp 552-555 pertaining only to "II. Experiments."
ii.
DeWitt LA, Crowder RG Tonal fusion of
consonant musical intervals: The oomph
in Stumpf. Perception & Psychophysics 1987; 41: 73-84
¥
Functional Neuroanatomy
iii. Tramo MJ, Bharucha JJ Musical priming post-callosotomy. Neuropsychologia 1991;
¥ Neural Coding
iv. Tramo MJ, Cariani PA, Delgutte BD Neural correlates of the consonance
of musical
intervals: Multiscale temporal codes in the auditory nerve (in press)
2. Rossing et al, Science of Sound 3rd
Ed, 2002, Chapter 8,
"Combination Tones & Harmony"
Problem Set
1. Rossing Chapter 8, Review Questions #4, 6, 10, 11; Questions for Thought & Discussion #2; Exercises #1, 2
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Reading
1. Seminar:
¥ Cognitive Psychology
i. Bigand E, et al. Sensory versus cognitive components in harmonic priming. Journal of Experimental Psychology: Human Perception and Performance 2003: 159-171. (PDF in Institute eLibrary)
¥ Functional Neuroanatomy
ii. Tramo MJ, Bharucha JJ Musical priming post-callosotomy. Neuropsychologia 1991;
iii. Tillmann B, et al. Activation of the inferior frontal cortex in musical priming. Cognitive Brain Research 2003, 16: 145-161. (PDF in Institute eLibrary)
¥ Gross Electrophysiology (Event-related potentials)
iv. Maess B, et al. Musical syntax is processed in Broca's area: An MEG study. Nature Neuroscience 2001; 4: 540-545 (PDF in Institute eLibrary)
v. Poulin-Chardonnat B, et al. Processing of musical syntax tonic versuss ubdominant: An event-related potential study. Journal of Cognitive Neuroscience 200518:1545-1554. (PDF will be emailed)
2. Rossing
Chapter 9, "Musical
Scales & Temperament"
Problem Set
Rossing
Chapter
9, Review Questions #2, 17; Exercises #1, 6
Self-Teaching Exercise: Gross Anatomy of the Cerebral Cortex
1. On a separate sheet of paper, draw an outline of the right cerebral hemisphere. Inside the outline, draw and label the following (only):
a) the lateral fissure (a.k.a. the Sylvian fissure);
b) the central fissure (a.k.a. the Rolandic fissure); and
c) the superior temporal gyrus.
2. Lightly color in the anterior half of the STG; leave the posterior half unshaded.
3. Where is the transverse gyrus of Heschl? Can it be seen from a lateral view? If not, why not?
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Reading
1. Seminar:
¥ Cognitive Psychology
i. Bigand E, et al. Sensory versus cognitive components in harmonic priming. Journal of Experimental Psychology: Human Perception and Performance 2003: 159-171. (PDF in Institute eLibrary)
¥ Functional Neuroanatomy
ii. Tramo MJ, Bharucha JJ Musical priming post-callosotomy. Neuropsychologia 1991;
iii. Tillmann B, et al. Activation of the inferior frontal cortex in musical priming. Cognitive Brain Research 2003, 16: 145-161. (PDF in Institute eLibrary)
¥ Gross Electrophysiology (Event-related potentials)
iv. Maess B, et al. Musical syntax is processed in Broca's area: An MEG study. Nature Neuroscience 2001; 4: 540-545 (PDF in Institute eLibrary)
v. Poulin-Chardonnat B, et al. Processing of musical syntax tonic versuss ubdominant: An event-related potential study. Journal of Cognitive Neuroscience 200518:1545-1554. (PDF will be emailed)
2. Rossing et al, Science of Sound 3rd
Ed, 2002, Chapter 5,
"Hearing"
Problem Set
1. Rossing
Chapter 5, Review Questions #4, 5, 6, 8, 9, 10, 11, 12, 16, 19; Questions for
Thought & Discussion #2; Exercises #1,3
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Except Study Section E
Reading
1. Seminar:
2. Rossing et al, Science of Sound 3rd
Ed, 2002, Chapter 6,
"Loudness"
Problem Set
1. Rossing
Chapter 6, Review Questions #1, 3, 4, 13, 15, 17; Exercises #1, 3
Homework Due Nov. 19
Except Study Section F
Reading
1. Seminar:
Rhythm Perception & Production
2. Rossing et al, Science of Sound 3rd Ed, 2002, Chapter 15, "Speech Production"
Problem Set
1. Rossing Chapter 15, Review Questions #2, 4, 5, 6, 7, 9, 10, 13, 15; Exercises #2
Homework Due Nov. 26
Except Study Section G
Reading
1. Seminar:
Emotion & Meaning in Music
2. Rossing et al, Science of Sound 3rd Ed, 2002, Chapter 16, "Speech Recognition, Analysis & Synthesis"
Problem Set
1. Rossing Chapter 16, Review Questions #1, 6, 7; Exercises #1
Homework Due Dec 3
Except Study Section H
Reading
1. Seminar:
Auditory Development & Musical Capacities
2.Rossing: None
Problem Set
None
Reading
1. Seminar:
Talent & Intelligence in Music
2. Rossing et al, Science of Sound 3rd Ed, 2002, Chapter 17, "Singing"
Problem Set
1. Rossing Chapter 17, Review Questions #1, 2, 4, 6-thru-9, 14-thru-20; Exercises #2, 4
ALL OUTSTANDING HOMEWORKS for STUDY SECTIONS
Handed in on Dec 10th or Emailed by Jan 12th
END
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